Learn everything about the Behringer 2600 here: ua-cam.com/play/PLlJvIUzIwQ79naxyNxNQnNEj_KcmHp5D5.html Get started with the Behringer 2500 Eurorack System: ua-cam.com/play/PLlJvIUzIwQ7-c3uoCt82TRo2a_IZmYjCJ.html ARP 2600 and Behringer 2600 Videos: ua-cam.com/play/PLlJvIUzIwQ7-i8ycRAQNnYcPmADP9quhE.html Happy patching! Ralph
Night and day. The Blue Marvin reverb merges with the dry sound into a unified sound ... but it's mushy and muddy. Run through the ARP reverb suddenly the synth is clear and distinct from the reverb. In other words, the Blue Marvin reverb gives a smeared sound that doesn't sound like an instrument being played in a physical space. The ARP reverb sounds like an artifact of an instrument being played in a physical space. It is separate and apart from the dry signal but enhances its spatial presence.
Thank you Ralph for these comparisons. I played professionally back in the 1970s and 80s, so I had many of those vintage instruments, but they were new at that time. A Yamaha CS60, Oberheim TVS-1, Moog Minimoog, however the only ARP I had back then was in 1975, The ARP OMNI Mk I 2683 Polyphonic String & Synthesizer unit. I have one of those now restored and love its silkiness. Anyway, having retired from the music industry in the early 1980s, those early instruments have long been sold off. Since I returned to playing with friends again for fun, I have a Behringer Poly D (Actually a very fun synth versus the Minimoog Model D, and just ordered the Behringer B2600 also). For my use in my home studio, I am perfectly fine with multi-hundred dollar synths rather than multi-thousand dollar synths. I recently sold a Tom Oberheim Two Voice Pro for more than I purchased it for! Great investments those high-end units are. However, today, I am so pleased that Behringer is offering these for such a low price point. I can still get those sounds from the old days but I can still buy food! LOL. They are actually quite good for the price. Again, a bit long in the tooth here, but thanks for doing what you do showing everyone how these different instruments sound. It is much appreciated, good Sir! Carry on now. Ha haa . . . . . .
Hello Eric, thank you so much for your kind and informative comment. I totally agree with you, the Behringer line of Synthesizers offer very good value. What kind of music were you playing back in the 1970s? Judging from the equipment you listed, I suppose it was something between Boston and Saga !? ;-) Thank you very much for watching my videos! Greetings, Ralph
@@RalphBaumgartl Long story Ralph and to try and not bore your many good viewers, I’ll keep it simple. Early classical music on the piano, baritone saxophone, and clarinet through the 1960s. The 1970s brought rock and roll on Hammond B3s with Rhodes piano and Wurlitzer 200, Minimoog and D6 Clavinet. The mid-70s through early 80s started really having fun with Atlantic Records in a band named Kleeer. Funk, Jazz, Disco Dance, and R&B. Out came the Yamaha CS60, Oberheim, Moog, D6 Clav, Rhodes, Arp Omni, and many other keys and also percussion instruments. In the studio, we had the Brecker Brothers on horns and Luther Vandross on background vocals of all things. Toured those days along with Rick James, Prince, Rufus and Chaka Kahn, The Spinners, Chic, Sister Sledge, George Benson, and more. We played at Radio City Music Hall, Studio 54, The Cow Palace in San Francisco, and many more. Prince opened for us in California and we opened for him on the east coast. Fun tours they were! When I was off from any of those tours since the late 1960s I always had a fascination with those new instruments they called ~ Synthesizers. On those ventures in my home studio, I involved myself with what they call today Ambient Soundscapes. We did not have a name for them at that time, perhaps “experimental” music I guess. Still do those today with a twist. . . . . I do mostly Improvisational Meditation Soundscapes. Really enjoy relaxing to the sounds as they pour forth from my boards live. Anyway, keep up your wonderful videos here. I’ve only recently found them now that I’m retired and gaining on that wonderful age of 70. Lol. I look forward to your next adventure with sound! Peace my friend and Peace to all of you good folks here enjoying music! It’s the Soul’s Medicine. . . . . . which brings us all together.
@@ericrohrbaugh2713 Hello Eric, thank you for sharing your musical journey in such detail. It’s quite interesting that a classical trained musician like you finally ends up playing and enjoying ambient/meditation music. BTW, I have recorded several Relaxation/Meditation music sessions with a friend of mine. Here’s the link to the playlist, if you have time you may want to check it out: ua-cam.com/play/PLlJvIUzIwQ794aumd4YNI5qN3lGvDK0Qe.html I wish you a relaxing and creative weekend. Ralph
Hey Ralph, you don't happen to have a Behringer Neutron laying around to hook up to the B2600 for some sweet Behringer inter-connectivity and madness? Neutron oscillators through the B2600 filter and vice versa etc. The B2600 reverb through the Neutron BBD delay maybe.. For some reason I think those two would play nice together.
I only have three Behringer Synths and these are: B2600, Blue Marvin and the Gray Meanie! But I might hook up my Oberheim OB-1 with one of the 2600 Synths 😉
@@RalphBaumgartl You sure love those 2600's 😂 Well I can't blame you. Oh but hey, what happens if you connect all three Behringer's reverbs in series? A springy mudfest? Also, do you have any favorite type of sound you use the 2600s for? I'd love to see more exploratory 2600 videos for inspiration for my Gray Meanie. Peace!
@@Neumah I have have been considering an experiment mixing the reverb of all my four 2600 Synths. But that would be some kind of a joke as the result would be a too muddy sound ;-)
Was listening on my earphones and felt most notably on the bass patch the Meanie reverb was overpowering when moving up to max. Not as musical I felt as the 2600 original reverb perhaps due to the larger tank and longer spring length. Meanie sounded musical up to about half way then I felt it just got louder, a bit overdriven maybe . I'd probably use it up to that point or feed it out to another unit. Still trying to track one of these down where I live for a hands on. Thanks again Ralph 😀
Hello Colin, yes I agree with you. The reverb of the Blue Marvin is too muddy when cranked up all the way. I personally feel that the best musical result is roughly at the half way slider position depending on the patch.
Mmm, reverb! It's interesting to me, Ralph, that guitars sound best with no more than a touch of reverb, but a great-sounding synth is even better with a lot of it. I'm enjoying these videos. Please keep them coming.
Nice combination of (B)ARP synths with the different spring reverbs of ARP and BARP👍 Perhaps it is possible to combine the BARP spring reverb with the Doepfer spring reverb module and get a similar effect like original ARP spring reverb😉 Fortunately there are thousands of possibilities 😃
You are absolutely right, there is a myriad of options in combining the reverbs. If you happen to own a standard B2600 and a Gray Meanie or Blue Marvin you could blend the digital with the mechanical reverb sound ;-)
Very interesting comparison. I just don't like any of them. I have the orange BARP and the reverb on that is like mud. I use RAUM reverb, and it's a king in comparison. These synths sound amazing through chorus, delay, reverb and saturation. I know my view on spring reverb isn't popular, but compared to a clean reverb, all 3 spring reverbs (Inc mine) just clog up the soundscape like a sound fog.
I understand what you mean. Since these spring reverbs come with the 2600 Synths, it's fun to use them for sound creation, but I would not buy an external mechanical spring reverb for my other Synths. For the reverb jobs my Strymon BigSky is the perfect tool. Unbeatable!
Learn everything about the Behringer 2600 here:
ua-cam.com/play/PLlJvIUzIwQ79naxyNxNQnNEj_KcmHp5D5.html
Get started with the Behringer 2500 Eurorack System:
ua-cam.com/play/PLlJvIUzIwQ7-c3uoCt82TRo2a_IZmYjCJ.html
ARP 2600 and Behringer 2600 Videos:
ua-cam.com/play/PLlJvIUzIwQ7-i8ycRAQNnYcPmADP9quhE.html
Happy patching! Ralph
Interesting. The differences are bigger than I had expected. Thanks for showing us. Enjoy your day! Rolf
Thanks for watching and your feedback. I personally think combining the two reverbs is the ultimate 2600 spring reverb sound 😉
Cool - You're using a YME-8! I still have mine from back in the day! Good video!
Thank you for watching 🙏 Yes, I actually have two YME-8. This device was built to last forever 😉 Still a great tool !
Hello Ralph, very great Sounds, cooles Teil
Vielen Dank Peter! Ich wünsche dir einen schönen Abend 🌇
Night and day. The Blue Marvin reverb merges with the dry sound into a unified sound ... but it's mushy and muddy. Run through the ARP reverb suddenly the synth is clear and distinct from the reverb. In other words, the Blue Marvin reverb gives a smeared sound that doesn't sound like an instrument being played in a physical space. The ARP reverb sounds like an artifact of an instrument being played in a physical space. It is separate and apart from the dry signal but enhances its spatial presence.
Thanks for sharing your opinion! The original ARP is pretty unique in a multitude of ways...Have a good week, Ralph
Thank you Ralph for these comparisons. I played professionally back in the 1970s and 80s, so I had many of those vintage instruments, but they were new at that time. A Yamaha CS60, Oberheim TVS-1, Moog Minimoog, however the only ARP I had back then was in 1975, The ARP OMNI Mk I 2683 Polyphonic String & Synthesizer unit. I have one of those now restored and love its silkiness. Anyway, having retired from the music industry in the early 1980s, those early instruments have long been sold off. Since I returned to playing with friends again for fun, I have a Behringer Poly D (Actually a very fun synth versus the Minimoog Model D, and just ordered the Behringer B2600 also). For my use in my home studio, I am perfectly fine with multi-hundred dollar synths rather than multi-thousand dollar synths. I recently sold a Tom Oberheim Two Voice Pro for more than I purchased it for! Great investments those high-end units are. However, today, I am so pleased that Behringer is offering these for such a low price point. I can still get those sounds from the old days but I can still buy food! LOL. They are actually quite good for the price. Again, a bit long in the tooth here, but thanks for doing what you do showing everyone how these different instruments sound. It is much appreciated, good Sir! Carry on now. Ha haa . . . . . .
Hello Eric, thank you so much for your kind and informative comment. I totally agree with you, the Behringer line of Synthesizers offer very good value. What kind of music were you playing back in the 1970s? Judging from the equipment you listed, I suppose it was something between Boston and Saga !? ;-) Thank you very much for watching my videos! Greetings, Ralph
@@RalphBaumgartl Long story Ralph and to try and not bore your many good viewers, I’ll keep it simple. Early classical music on the piano, baritone saxophone, and clarinet through the 1960s. The 1970s brought rock and roll on Hammond B3s with Rhodes piano and Wurlitzer 200, Minimoog and D6 Clavinet. The mid-70s through early 80s started really having fun with Atlantic Records in a band named Kleeer. Funk, Jazz, Disco Dance, and R&B. Out came the Yamaha CS60, Oberheim, Moog, D6 Clav, Rhodes, Arp Omni, and many other keys and also percussion instruments. In the studio, we had the Brecker Brothers on horns and Luther Vandross on background vocals of all things. Toured those days along with Rick James, Prince, Rufus and Chaka Kahn, The Spinners, Chic, Sister Sledge, George Benson, and more. We played at Radio City Music Hall, Studio 54, The Cow Palace in San Francisco, and many more. Prince opened for us in California and we opened for him on the east coast. Fun tours they were! When I was off from any of those tours since the late 1960s I always had a fascination with those new instruments they called ~ Synthesizers. On those ventures in my home studio, I involved myself with what they call today Ambient Soundscapes. We did not have a name for them at that time, perhaps “experimental” music I guess. Still do those today with a twist. . . . . I do mostly Improvisational Meditation Soundscapes. Really enjoy relaxing to the sounds as they pour forth from my boards live. Anyway, keep up your wonderful videos here. I’ve only recently found them now that I’m retired and gaining on that wonderful age of 70. Lol. I look forward to your next adventure with sound! Peace my friend and Peace to all of you good folks here enjoying music! It’s the Soul’s Medicine. . . . . . which brings us all together.
@@ericrohrbaugh2713 Hello Eric, thank you for sharing your musical journey in such detail. It’s quite interesting that a classical trained musician like you finally ends up playing and enjoying ambient/meditation music. BTW, I have recorded several Relaxation/Meditation music sessions with a friend of mine. Here’s the link to the playlist, if you have time you may want to check it out:
ua-cam.com/play/PLlJvIUzIwQ794aumd4YNI5qN3lGvDK0Qe.html
I wish you a relaxing and creative weekend. Ralph
@@RalphBaumgartl Thank You Ralph, you also.
Hi Ralph - Still on your sprinngs :-) I think they're fine for taking the dryness off a sound but I still prefer DSP to spring :-)
Hello Ian, the springs are fun to use, but a Strymon BigSky let's you simulate real musical reverbs. Have a nice evening! Ralph
@@RalphBaumgartl Big Sky - oh yeeeees! I have the Time Line. It was either/or and a tough decision...
@@IanWaugh i have the Timeline too. The Strymon gear is golden. I consider the BigSky and Timeline almost a musical instrument.
Wow! Those sound really good mixed together!
It's fun to mix the past with the present 😉 Have a nice evening! Ralph
Hey Ralph, you don't happen to have a Behringer Neutron laying around to hook up to the B2600 for some sweet Behringer inter-connectivity and madness? Neutron oscillators through the B2600 filter and vice versa etc. The B2600 reverb through the Neutron BBD delay maybe.. For some reason I think those two would play nice together.
I only have three Behringer Synths and these are: B2600, Blue Marvin and the Gray Meanie! But I might hook up my Oberheim OB-1 with one of the 2600 Synths 😉
@@RalphBaumgartl You sure love those 2600's 😂 Well I can't blame you. Oh but hey, what happens if you connect all three Behringer's reverbs in series? A springy mudfest? Also, do you have any favorite type of sound you use the 2600s for? I'd love to see more exploratory 2600 videos for inspiration for my Gray Meanie. Peace!
@@Neumah I have have been considering an experiment mixing the reverb of all my four 2600 Synths. But that would be some kind of a joke as the result would be a too muddy sound ;-)
Was listening on my earphones and felt most notably on the bass patch the Meanie reverb was overpowering when moving up to max. Not as musical I felt as the 2600 original reverb perhaps due to the larger tank and longer spring length. Meanie sounded musical up to about half way then I felt it just got louder, a bit overdriven maybe . I'd probably use it up to that point or feed it out to another unit. Still trying to track one of these down where I live for a hands on. Thanks again Ralph 😀
Hello Colin, yes I agree with you. The reverb of the Blue Marvin is too muddy when cranked up all the way. I personally feel that the best musical result is roughly at the half way slider position depending on the patch.
Mmm, reverb!
It's interesting to me, Ralph, that guitars sound best with no more than a touch of reverb, but a great-sounding synth is even better with a lot of it.
I'm enjoying these videos. Please keep them coming.
Hello Stephen, thank you! These 2600 clones make me dabble around ;-) Trust you are OK. Greetings to the UK! Ralph
Nice combination of (B)ARP synths with the different spring reverbs of ARP and BARP👍 Perhaps it is possible to combine the BARP spring reverb with the Doepfer spring reverb module and get a similar effect like original ARP spring reverb😉 Fortunately there are thousands of possibilities 😃
You are absolutely right, there is a myriad of options in combining the reverbs. If you happen to own a standard B2600 and a Gray Meanie or Blue Marvin you could blend the digital with the mechanical reverb sound ;-)
Very interesting comparison.
I just don't like any of them. I have the orange BARP and the reverb on that is like mud.
I use RAUM reverb, and it's a king in comparison.
These synths sound amazing through chorus, delay, reverb and saturation.
I know my view on spring reverb isn't popular, but compared to a clean reverb, all 3 spring reverbs (Inc mine) just clog up the soundscape like a sound fog.
I understand what you mean. Since these spring reverbs come with the 2600 Synths, it's fun to use them for sound creation, but I would not buy an external mechanical spring reverb for my other Synths. For the reverb jobs my Strymon BigSky is the perfect tool. Unbeatable!